Weight with you, as the Advice of Inferiors is seldom regarded, allow at
least, that whoever has the Faculty of Thinking, may once in sixty Years
think right. And if you think, that I have been too partial to the Times
past, then would I persuade you, (if you have not a shaking Hand) to
weigh in a just Ballance your most renowned Singers; who you take to be
_Moderns_ (but are not so, except in their _Cadences_;) and having
undeceived yourselves, you will perceive in them, that instead of
Affectations, Abuses, and Errors, They sing according to those powerful
Lessons that give Delight to the Soul, and whose Perfections have made
Impressions on me, and which I shall always remember with the greatest
Pleasure. Do but consult them, as I have done, and they will truly and
freely tell you, That They sell their Jewels where they are understood;
That the Singers of Eminence are not of the _Mode_, and that at present
there are many bad Singers.
Sec. 31. True it is, that there are some, tho' few, very good Singers, who,
when the Vehemence of their youthful fire is abated, will by their
Examples do Justice to their delightful Profession, in keeping up the
Splendor of it, and will leave to Posterity a lasting and glorious Fame
of their Performances. I point them out to you, that, if you find
yourselves in an Error, you may not want the Means to correct it, nor
an Oracle to apply to whenever you have occasion. From whence I have
good Grounds to hope, that the true Taste in Singing will last to the
End of the World.
Sec. 32. Whoever comprehends what has been demonstrated to him, in these
and many other Observations, will need no farther Incitement to study.
Stirred up by his own Desire, he will fly to his beloved Instrument,
from which, by continued Application, he will find he has no Reason to
sit down satisfied with what he has learn'd before. He will make new
Discoveries, inventing new Graces, from whence after comparing them well
together, he will chuse the best, and will make use of them as long as
he thinks them so; but, going on in refining, he will find others more
deserving his Esteem. To conclude, from these he will proceed on to an
almost infinite Number of _Graces_, by the means whereof his Mind will
be so opened, that the most hidden Treasures of the Art, and most
remote from his Imagination, will voluntarily present themselves; so
that, unless Pride blinds him, or Study becomes tiresome to him, or his
Memory fails him, he will increase his Store of Embellishments in a
Stile which will be entirely his own: The principal Aim of one that
strives to gain the highest Applause.
Sec. 33. Finally, O ye young Singers, hearken to me for your Profit and
Advantage. The Abuses, the Defects, and the Errors divulged by me in
these Observations, (which in Justice ought not to be charg'd on the
_Modern_ Stile) were once almost all Faults I myself was guilty of; and
in the Flower of my Youth, when I thought myself to be a great Man, it
was not easy for me to discover them. But, in a more mature Age, the
slow Undeceit comes too late. I know I have sung ill, and would I have
not writ worse! but since I have suffered by my Ignorance, let it at
least serve for a Warning to amend those who wish to sing well. He that
studies, let him imitate the ingenious Bee, that sucks its Honey from
the most grateful Flowers. From those called _Ancients_, and those
supposed _Moderns_, (as I have said) much may be learn'd; it is enough to
find out the Flower, and know how to distill, and draw the Essence from
it.
Sec. 34. The most cordial, and not less profitable Advice, I can give you,
is the following:
Sec. 35. Remember what has been wisely observed, that Mediocrity of Merit
can but for a short time eclipse the true Sublime, which, how old soever
it grows, can never die.
Sec. 36. Abhor the Example of those who hate Correction; for like Lightning
to those who walk in the Dark, tho' it frightens them, it gives them
Light.
Sec. 37. Learn from the Errors of others: O great Lesson! it costs little,
and instructs much. Of every one something is to be learned, and the
most Ignorant is sometimes the greatest Master.
_FINIS_.
PLATES
Pl. I
Chap. 1.st
[Illustration: Sec. 11 Page 17 Nš. 1]
[Illustration: Page 17 Nš. 2]
[Illustration: Sec. 12 Page 18 Nš. 3 Exachords Transposed a Fifth lower]
[Illustration: Sec. 29 Page 28 Nš. 4 Messa di Voce]
Pl. II
Chap. 2d.
[Illustration: Sec. 2 Page 32 Nš. 1 Semitones Major Semitones Minor]
[Illustration: Sec. 3 Page 32 & 33 Nš. 2]
[Illustration: Sec. 4 Page 34 Nš. 3]
[Illustration: Sec. 5 Page 34 Nš. 4]
[Illustration: Sec. 6 Page 34 Nš. 5]
[Illustration: Sec. 7 Page 35 Nš. 6]
Pl. III
[Illustration: Sec. 8 Page 35 Nš. 7.]
[Illustration: Sec. 9 Page 35 Nš. 8.]
[Illustration: Sec. 14 Page 37 Nš. 9.]
[Illustration: Page 37 Nš. 10.]
[Illustration: Page 37 Nš. 11.]
[Illustration: Page 37 Nš. 12.]
[Illustration: Page 37 Nš. 13.]
[Illustration: Sec.15 Page 38 Nš. 14.]
[Illustration: Page 38 Nš. 15. per Messe di Voce]
Pl. IV
Chap. 3d.
[Illustration: Sec. 6 Page 43 Nš. 1.]
[Illustration: Sec. 7 Page 43 Nš. 2.]
[Illustration: Flat Key]
[Illustration: sharp key Page 43 Nš. 3.]
[Illustration: Sec. 8 Page 45 Nš. 4.]
[Illustration: Sec. 9 Page 45 Nš. 5.]
[Illustration: Sec. 10 Page 45 Nš. 6.]
[Illustration: Sec. 11 Page 46 Nš. 7.]
[Illustration: Sec. 12 Page 46 Nš. 8.]
[Illustration: Sec. 13 Page 47 Nš. 9.]
Chap 4th
[Illustration: Sec. 29 Page 62 Nš. 10. Bad]
Chap. 5th
[Illustration: Sec. 13 Page 74 Nš. 1. affann:, Nš. 2. affan-ni]
Chap 8th
[Illustration: Sec. 1 Page 126 Nš. 3. Superior Cadence
La Sol Fa
Inferior Cadence
Fa me Fa]
[Illustration: Sec. 3 Page 127
Nš. 4. Nš. 5.
nel fondo]
[Illustration: Sec. 7 Page 132 Nš. 6., not Resolved Nš. 7 Resolved]
[Illustration: Sec. 9 Page 134 Nš. 8 Confond[ve]-ro am[ve]-ro]
FOOTNOTES:
[1] When Arts and Sciences were retrieving from the Barbarism in which
they were buried, Musick chiefly took its Rise in _Flanders_, and the
Composers of Musick of that Nation were dispersed all over _Europe_, to
the Improvement of others. In _Italy_ there arose from that School,
among several others, _P. Alis. Palestrina_, a Genius so extraordinary,
that he is looked upon as the _Raphael_ among the Musicians. He lived in
Pope _Leo_ the Tenth's Time; and no Musick, that we know of, is
performed at the Pope's Chapel, to this Day, but of his Composition,
except the famous _Miserere_ of _Allegri_, who liv'd a little time after
_Palestrina_.
[2] Our Author seems to be a little too partial in Favour of the Singer,
all momentary Productions being the same; though it must be allowed,
that by reason of the Expression of the Words, any Error in Singing will
be more capital, than if the same were committed on an Instrument.
[3] The Author directs this for the Instruction of a _Soprano_, or a
treble Voice, because Youth possesses that Voice mostly, and that is the
Age when they should begin to study Musick. It may not be amiss to
mention, that the _Soprano_ is most apt to perform the Things required
by your Author, and that every different Scale of Voice has something
peculiarly relative to its Kind as its own Property; for a _Soprano_ has
generally most Volubility, and becomes it best; and also equally the
Pathetick. The _Contr'Alto_ more of the Pathetick than the Volubility;
the _Tenor_ less of the Pathetick, but more of the Volubility than the
_Contr'Alto_, though not so much as the _Soprano_. The _Bass_, in
general more pompous than any, but should not be so boisterous as now
too often practised.
[4] By this section, and mostly throughout the Work, one sees, the
Author calculated this Treatise chiefly for the Advantage of Professors
of Musick; but, notwithstanding, it appears in several Places, that his
Intention is, that all Lovers of Musick should also be the better for
it.
[5] _The Explanation of_ Sic vos non vobis, _&c._, _for the Satisfaction
of those who do not perfectly remember it_.
_Virgil_ having composed a Distich, containing the Praise of _Augustus_,
and a Compliment on his good Fortune, fix'd it on the Palace Gate,
without any Name subscrib'd. _Augustus_, making strict Enquiry after the
Author, and _Virgil's_ Modesty not suffering him to own the Verses, one
_Bathillus_, a Poet of a mean Reputation, owned himself the Author, and
received Honour and Reward from the Emperor. _Virgil_, somewhat
scandalized at this Accident, fixed an Hemistich in these Words (_Sic
vos non vobis_) four times repeated under the other, where he had placed
the former Verses. The Emperor was as diligent to have these Hemistichs
filled up, but no-body appearing to do it, at length _Virgil_ supplied
them thus:
_Hos ego Versiculos feci, tulit alter Honores;
Sic vos non vobis nidificatis aves.
Sic vos non vobis vellera fertis oves.
Sic vos non vobis mellificatis apes.
Sic vos non vobis fertis aratra boves._
i.e. These Verses I made, but another has taken the Applause of them.
_So ye Birds build not your Nests
For yourselves.
So ye Sheep bear not your Wool
For yourselves.
So ye Bees make not your Honey
For yourselves.
So ye Oxen submit to the Plow
Not for yourselves_.
Upon this Discovery, _Bathillus_ became the Ridicule of _Rome_, and
_Virgil_ acquired a double Reputation.
The Distich, which _Bathillus_ claim'd for his, was this:
_Nocte plut tota, redeunt spectacula mane,
Divisum Imperium cum Jove Caesar habet._
i.e. It rain'd all Night; in the Morning the publick Shews return:
_Jove_ and _Caesar_ divide the Rule of the World. The Compliment is, that
_Caesar_ designing to exhibit Sports to the People, though the preceding
Night was rainy and unpromising, yet such Weather returned with the
Morning, as did not disappoint the Solemnity.
[6] _Alla Capella_, Church-Musick where the Flats and Sharps are not
mark'd.
[7] Seven Cliffs necessary to be known. Pl. I. Numb. 1. By the Help of
these Cliffs any Line or Space may be what Note you please. Pl. I. Numb.
2.
[8] It is necessary to understand the _Sol-Fa_-ing, and its Rules, which
shew where the two Semitones lie in each Octave, Pl. I. Numb. 3. Where
Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That
is _Fa_; if more Flats, the last. If one Sharp, That is _Mi_; if more
Sharps, the last.
[9] His meaning is, that the _French_ are not in the right.
[10] See Sec. 2, and the following, in Chap. III. where the Difficulty of
the _Semitone Major_ and _Minor_ are cleared.
[11] _Voce di Petto_ is a full Voice, which comes from the Breast by
Strength, and is the most sonorous and expressive. _Voce di Testa_ comes
more from the Throat, than from the Breast, and is capable of more
Volubility. _Falsetto_ is a feigned Voice, which is entirely formed in
the Throat, has more Volubility than any, but of no Substance.
[12] _Register_; a Term taken from the different Stops of an Organ.
[13] The Pitch of _Lombardy_ or _Venice_, is something more than half a
Tone higher than at _Rome_.
[14] A _Messa di Voce_ is the holding out and swelling a Note. Vide Pl.
I. Numb. 4. This being a Term of Art, it is necessary to use it, as well
as _Piano_ for soft, and _Forte_ for loud. _N.B._ Our Author recommends
here to use any Grace sparingly, which he does in several other Places,
and with Reason; for the finest Grace too often repeated grows tiresome.
[15] See for _Appoggiatura_ in the next Chapter.
[16] This Chapter contains some Enquiries into Matters of Curiosity, and
demands a little Attention. The Reader therefore is desired to postpone
it to the last.
[17] _Appoggiatura_ is a Word to which the _English_ Language has not an
Equivalent; it is a Note added by the Singer, for the arriving more
gracefully to the following Note, either in rising or falling, as is
shewn by the Examples in Notes of Musick, Pl. II. Numb. 2. The _French_
express it by two different Terms, _Port de Voix_ and _Appuyer_; as the
_English_ do by a _Prepare_ and a _Lead_. The Word _Appoggiatura_ is
derived from _Appoggiare_ to lean on. In this Sense, you lean on the
first to arrive at the Note intended, rising or falling; and you dwell
longer on the Preparation, than the Note for which the Preparation is
made, and according to the Value of the Note. The same in a Preparation
to a Shake, or a Beat from the Note below. No _Appoggiatura_ can be made
at the Beginning of a Piece; there must be a Note preceding, from whence
it leads.
[18] Here begins the Examination of the _Semitones Major and Minor_,
which he promised in Sec. 15. Ch. 1. It may be of Satisfaction to the
Studious, to set this Matter at once in a true Light; by which our
Author's Doubts will be cleared, and his Reasoning the easier
understood. A _Semitone Major_ changes Name, Line, and Space: _A
Semitone_ Minor changes neither. Pl. II. Numb. 1. To a _Semitone Major_
one can go with a Rise or _a_ Fall distinctly; to a _Semitone Minor_ one
cannot _N.B._ From a _Tone Minor_ the _Appoggiatura_ is better and
easier than from a _Tone Major_.
[19] These are all _Tones Major_ and _Minor_, and _Semitones Major_. Pl.
II. Numb. 2.
[20] Because they are _Semitones Major_. Pl. II. Numb. 3.
[21] Because they are _Semitones Major_. Pl. II. Numb. 4.
[22] Because they are all _Semitones Minor_, which may be known by the
abovementioned Rule, of their not changing Name, Line, nor Space. Pl.
II. Numb. 5. and which makes it manifest, that a _Semitone Minor_ cannot
bear an _Appoggiatura_.
[23] For the same Reason, these being _Semitones Minor_. Pl. II. Numb.
6.
[24] Because one is a _Semitone Major_, and the other a _Semitone
Minor_. Pl. III. Numb. 7.
[25] Because they are _Semitones Minor_. Pl. III, Numb. 8.
[26] The _Tone_, or _Mood_, you are in, will determine which is a _Tone
Major_ or _Minor_; for if you change the _Mood_ or _Tone_, that which
was the _Tone Major_ may become the _Tone Minor_, and so _Vice Versa_:
Therefore these two Examples from _C_ to _D_, and from _F_ to _G_, do
not hold true.
[27] His Perplexity comes from a wrong Notion, in not distinguishing
those two _Semitones_.
[28] All Intervals, rising with an _Appoggiatura_, arise to the Note
with a sort of _Beat_, more or less: and the same, descending, arrive to
the Note with a sort of _Shake_, more or less. Pl. III. Numb. 9, 10. One
cannot agreeably ascend or descend the Interval of a third _Major_ or
_Minor_, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12.
Examples of false or deceitful Intervals. Pl. III. Numb. 13.
[29] So in all Cases where the Interval is deceitful. Pl. III. Numb. 14.
With a _Messa di Voce_. Pl. III. Numb. 15. See for _Messa di Voce_,
Chap. I. Sec. 29, and its Note.
[30] In all the modern _Italian_ Compositions the _Appoggiatura's_ are
mark'd, supposing the Singers to be ignorant where to place them. The
_French_ use them for their Lessons on the _Harpsichord_, &c., but
seldom for the Voice.
[31] See for the several Examples of the _Shakes_, Pl. IV.
[32] The first _Shake_ of a _Tone_, Pl. IV. Numb. 1.
[33] See for the Meaning of superior and inferior _Cadences_, Chap.
VIII. Sec. 1. Pl. V. Numb. 3. _N.B._ Prom the inferior or lower Cadences,
the first, or full, _Tone Shake_, is not always excluded; for in a sharp
Key it is always a _Tone_, and in a flat Key a _Semitone_, Pl. IV. Numb.
3.
[34] The second _Shake_ of a _Semitone Major_, Pl. IV. Numb. 2.
[35] The third the short _Shake_. Pl. IV. Numb. 4.
[36] The fourth the rising _Shake_. Pl. IV. Numb. 5.
[37] The fifth the descending _Shake_. Pl. IV. Numb. 6.
[38] The sixth the slow _Shake_. Pl. IV. Numb. 7.
[39] The seventh the redoubled _Shake_. Pl. IV. Numb. 8.
[40] The eighth the _Trillo-Mordente_, or _Shake_ with a _Beat_. Pl. IV.
Numb. 9.
[41] _Shakes_ are generally proper from preceding Notes descending, but
not ascending, except on particular Occasions. Never too many, or too
near one another; but very bad to begin with them, which is too
frequently done. The using so often _Beats_, _Shakes_, and _Prepares_,
is owing to Lessons on the Lute, Harpsichord, and other Instruments,
whose Sounds discontinue, and therefore have Need of this Help.
[42] The _mark'd Divisions_ should be something like the _Staccato_ on
the Violin, but not too much; against which a Caution will presently be
given.
[43] The _Gliding Notes_ are like several Notes in one Stroke of the Bow
on the Violin.
[44] The pronouncing _Eror_ instead of _Error_; or _Dally_ instead of
_Daly_. The not distinguishing; the double Consonants from the single,
is an Error but too common at present.
[45] See for the _syncopated_, _Ligatura_, or _binding_ Notes, Pl. IV.
Numb. 10.
[46] _Madrigals_ are Pieces in several Parts; the last in Practice were
about threescore Years ago; then the Opera's began to be in Vogue, and
good Musick and the Knowledge of it began to decline.
[47] _Musica di Camera._ Chamber, or private, Musick; where the
Multitude is not courted for Applause, but only the true Judges; and
consists chiefly in _Cantata's_, _Duetto's_, &c. In the Recitative of
_Cantata's_, our Author excelled in a singular Manner for the pathetick
Expression of the Words.
[48] _Cortona_ liv'd above forty Years ago. _Balarini_, in Service at
the Court of _Vienna_, much in Favour with the Emperor _Joseph_, who
made him a Baron.
[49] See Broken Cadences, Pl. V. Numb. 1.
----Final Cadences, Pl. V. Numb. 2.
[50] _Motets_, or Anthems.
[51] The Proverb is, _Lingua_ Toscana _in bocca_ Romana.--This regards
the different Dialects, in _Italy_; as _Neapolitan_, _Venetian_, _&c._
the same, in Comparison, _London_ to _York_, or _Somersetshire_.
[52] The Church-Musick in _Italy_ is all in _Latin_, except
_Oratorio's_, which are Entertainments in their Churches. It is
therefore necessary to have some Notion of the _Latin_ Tongue.
[53] The first Caution against imitating injudiciously the Instrumental
with the Voice.
[54] The _Italians_ have a Saying, _Voce di Compositore_, to denote a
bad or an indifferent Voice.
[55] _Cantabile_, the Tender, Passionate, Pathetick; more Singing than
_Allegro_, which is Lively, Brisk, Gay, and more in the executive Way.
[56] Suppose the first Part expressed Anger, and the second relented,
and was to express Pity or Compassion, he must be angry again in the _Da
Capo_. This often happens, and is very ridiculous if not done to a real
Purpose, and that the Subject and Poetry require it.
[57] It is supposed, the Scholar is arrived to the Capacity of knowing
Harmony and Counterpoint.
[58] The general dividing of _Airs_ described, to which the Author often
refers.
[59] With due Deference to our Author, it may be feared, that the
Affectation of Singing with Variety has conduced very much to the
introducing a bad Taste.
[60] Continuation of the general dividing _Airs_ in Sec. 4. The End of this
Section is a seasonable Corrective of the Rule prescribed in the
foregoing fifth Section.
[61] _Rivani_, called _Ciecolino_, must have written some Treatise on
Time, which is not come to us, therefore no further Account can be given
of him.
[62] _Pistochi_ was very famous above fifty Years ago, and refined the
Manner of singing in _Italy_, which was then a little crude. His Merit
in this is acknowledged by all his Countrymen, contradicted by none.
Briefly, what is recounted of him, is, that when he first appeared to
the World, and a Youth, he had a very fine treble Voice, admired and
encouraged universally, but by a dissolute Life lost it, and his
Fortune. Being reduced to the utmost Misery, he entered into the Service
of a Composer, as a Copyist, where he made use of the Opportunity of
learning the Rules of Composition, and became a good Proficient. After
some Years, he recovered a little Glimpse of Voice, which by Time and
Practice turned into a fine _Contr'Alto_. Having Experience on his Side,
he took Care of it, and as Encouragement came again, he took the
Opportunity of travelling all _Europe_ over, where hearing the different
Manners and Tastes, he appropriated them to himself, and formed that
agreeable Mixture, which he produced in _Italy_, where he was imitated
and admired. He at last past many Years, when in an affluent Fortune, at
the Court of _Anspach_, where he had a Stipend, and lived an agreeable
easy Life; and at last retired to a Convent in _Italy_. It has been
remark'd, that though several of his Disciples shewed the Improvement
they had from him, yet others made an ill use of it, having not a little
contributed to the Introduction of the _modern_ Taste.
[63] _Sifacio_, famous beyond any, for the most singular Beauty of his
Voice. His Manner of Singing was remarkably plain, consisting
particularly in the _Messa di Voce_, the putting forth his Voice, and
the Expression.
There is an _Italian_ Saying, that an hundred Perfections are required
in an excellent Singer, and he that hath a fine Voice has ninety-nine of
them.
It is also certain, that as much as is allotted to Volubility and
Tricks, so much is the Beauty of the Voice sacrificed; for the one
cannot be done without Prejudice to the other.
_Sifacio_ got that Name from his acting the Part of _Syphax_ the first
time he appeared on the Stage. He was in _England_ when famous, and
belonged to King _James_ the Second's Chapel. After which he returned to
_Italy_, continuing to be very much admired, but at last was waylaid,
and murthered for his Indiscretion.
[64] _Buzzolini_, the Name known, but no Particulars of him.
[65] _Litigino_, in the Service of the Emperor _Joseph_, and a Scholar
of _Pistochi_.
[66] _Signora Boschi_ was over in _England_ in Queen _Anne's_ Time; she
sung one Season in the Opera's, returned to _Venice_, and left her
Husband behind for several Years; he sung the Bass. She was a Mistress
of Musick, but her Voice was on the Decay when she came here.
[67] _Santini_, afterwards _Signora Lotti_. She was famous above forty
Years ago, and appeared at several Courts in _Germany_, where she was
sent for; then retired to _Venice_, where she married _Signor Lotti_,
Chapel-Master of St. _Mark_.
All these Singers, though they had a Talent particular to themselves,
they could, however, sing in several sorts of Stile; on the contrary,
one finds few, but what attempt nothing that is out of their Way. A
modern Singer of the good Stile, being asked, whether such and such
Compositions would not please at present in _Italy_? No doubt, said he,
they would, but where are the Singers that can sing them?
[68] Those tremendous _Airs_ are called in _Italian_, _un Aria di
Bravura_; which cannot perhaps be better translated into _English_, than
a _Hectoring_ Song.
[69] _Pierre Simone Agostini_ lived about threescore Years ago. Several
_Cantata's_ of his Composition are extant, some of them very difficult,
not from the Number of _Divisions_ in the vocal Part, but from the
Expression, and the surprising Incidents, and also the Execution of the
Basses. He seems to be the first that put Basses with so much Vivacity;
for _Charissimi_ before him composed with more Simplicity, tho' he is
reckoned to be one of the first, who enlivened his Musick in the
Movements of his Basses. Of _Pierre-Simone_ nothing more is known but
that he loved his Bottle, and when he had run up a Bill in some
favourite Place, he composed a _Cantata_, and sent it to a certain
Cardinal, who never failed sending him a fixed Sum, with which he paid
off his Score.